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Patching with Intention | 3

Initialized Patch

Before getting started, match your Mavis to the

initialized patch settings above. You should be able

to press one of the keyboard keys and hear a note.

Find full patch point descriptions on

to

reference as you move through the patching exercises.

Each section in this guide builds upon the last, so

explore them in sequential order for best results.

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Summary of Contents for MAVIS

Page 1: ...Mavis Patching with Intention Get started with patching techniques explore deeper synthesis concepts and understand full patchbay functionality ...

Page 2: ...ed results Other times however you may want to patch with some intention Perhaps you have a sound in mind that you would like Mavis to approximate or an idea may strike you while falling asleep I wonder what would happen if I patched the VCO to the Filter Cutoff We hope that this guide will help you better understand how to patch Mavis and learn interesting new techniques for patching it as you ge...

Page 3: ...zed patch settings above You should be able to press one of the keyboard keys and hear a note Find full patch point descriptions on pages 11 14 to reference as you move through the patching exercises Each section in this guide builds upon the last so explore them in sequential order for best results ...

Page 4: ...IS CONNECTION Patch the LFO output to the ATTN 5 attenuator input and then patch the ATTN attenuator output to the VCO s 1V OCT input With the attenuator knob fully clockwise you will hear the same 10 octave trill but as you lower the attenuator knob that range will diminish until there is almost no modulation NOW YOU HAVE 3 KNOBS THAT SHAPE THE TRILL VIBRATO EFFECT ATTENUATOR Controls the interva...

Page 5: ...the pitch A related effect to vibrato which moves the pitch up and down is tremolo which moves the volume up and down MAKE THIS CONNECTION Patch the LFO output to the VCA CV input Now you can hear the volume move up and down in time with the LFO even when no key is pressed This is because now the LFO signal is controlling the volume instead of the envelope generator ByturningthefilterCUTOFFknobcom...

Page 6: ...es on the Mavis patch bay the VCO is normalled to the S H VCO input and the LFO is normalled to the S H GATE LFO input MAKE THIS CONNECTION Connect the S H output to the 1V OCT input and press and hold a key down You will hear a new pitch in time with the LFO If the VCO WAVE knob is rotated to the square wave you will hear only two pitches since the square wave being sampled only oscillates betwee...

Page 7: ...and get some more motion in our patch By patching the S H output to the LFO RATE the S H will change the rate of the LFO Higher S H values will turn the LFO rate up while lower values will turn it down MAKE THIS CONNECTION We can use the MULT to patch the S H output to two places at once The MULT is a simple utility allowing you to patch one output to multiple inputs Patch the S H output post atte...

Page 8: ...ead of the tops and bottoms simply staying at the threshold they are folded back the threshold acts a little like a mirror reflecting those peaks and troughs back on themselves This technique also adds harmonic overtones but of a different timbral quality than distortion Increasing the folding amount simply amplifies the signal even more causing deeper reflections of the peaks and troughs MAKE THI...

Page 9: ...n the wave folder will now distort the top and bottom of the waves differently MAKE THIS CONNECTION Patch the LFO to input ONE 5 of the mixer and the VCO to input TWO of the mixer Finally patch the ONE TWO mixer output to the FOLD IN input With this configuration you can explore wave folding even further playing with the VCO WAVE and LFO WAVE shapes the ONE LVL which scales the LFO shifting amount...

Page 10: ...ther begin from a sound that grabbed you while working through this guide this being an analog semi modular synthesizer it will never be quite the same or just start making connections and see what happens Over the next few pages is a list of Mavis s inputs and outputs organized left to right by row and some beginning ideas for how they can be used Let your imagination and your ears be your guide ...

Page 11: ...or vibrato or the S H for random pitch changes PWM R2 C2 Controls the pulse width of the VCO s pulse wave Patch the S H here for random pulse wave fluctuations ONE 5 R2 C3 Input one for the mixer The signal patched here will be attenuated by the ONE LVL knob and available at the ONE output and mixed with TWO at the ONE TWO output Patch any audio or control signals here and another to TWO to add th...

Page 12: ... output is normalled to this input The saw wave VCO is a good choice since at audio rate it can provide an even range of voltages to be sampled while the pulse wave can restrict the sampled voltages to either the high or low voltage values of the VCO signal You can replace the VCO with the VCA output for more flavors of randomness while replacing with the LFO or EG will provide slower signals to s...

Page 13: ...DE knob This output is already patched to the VCO pitch but you can also use it to control the LFO rate faster LFOs with higher pitches the filter cutoff higher pitches open the filter further or VCA higher notes are louder ONE R3 C3 Signal at ONE input scaled by ONE LVL knob Use to attenuate any signal and patch to any destination VCO R5 C1 VCO signal oscillating from 5 volts to 5 volts 10V peak ...

Page 14: ... a shape determined by the EG parameters Attack Decay Sustain Release Like the LFO it is internally routed to many parts of Mavis but you can also use it as an S H input or patch it to the LFO RATE to increase and decrease the LFO rate over the course of the envelope S H R7 C2 Output of Sample Hold circuit With normalled signals and VCO set to SAW WAVE this will output pseudorandom voltages at the...

Page 15: ...www moogmusic com ...

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